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Chris & Trish Meyer
Creating Motion Graphics is the blog for award-winning motion graphic designers Chris and Trish Meyer of Crish Design (formerly CyberMotion). Here is where they share not just their latest tips, tricks, and gotchas for the tools they use, but also discoveries that help them run their business, sources that inspire their designs, and musings on the future of the motion graphics industry. Chris & Trish Meyer founded Crish Design (formerly known as CyberMotion) in the very earliest days of the desktop motion graphics industry. Their design and animation work has appeared on shows and promos for CBS, NBC, ABC, Fox, HBO, PBS, and TLC; in opening titles for several movies including Cold Mountain and The Talented Mr. Ripley; at trade shows and press events for corporate clients ranging from Apple to Xerox; and in special venues encompassing IMAX, CircleVision, the NBC AstroVision sign in Times Square, and the four-block-long Fremont Street Experience in Las Vegas. They were among the original users of CoSA (now Adobe) After Effects, and have written the numerous books including "Creating Motion Graphics with After Effects" and "After Effects Apprentice" both published by Focal Press. Both Chris and Trish have backgrounds as musicians, and are currently fascinated with exploring fine art and mixed media in addition to their normal commercial design work. They have recently relocated from Los Angeles to the mountains near Albuquerque and Santa Fe, New Mexico. CMG KeyframesAfter Effects Apprentice Free Video: Exploring Shape EffectsAfter Effects Apprentice Free Video: Drawing Parametric ShapesAfter Effects Apprentice Free Video: The Puppet Starch ToolAfter Effects Apprentice Free Video: Eraser Tool ModesAfter Effects Apprentice Free Video: Tracking with mochaAEAfter Effects Apprentice Free Video: Performing a Motion TrackAfter Effects Apprentice Free Video: Creating 3D Objects using Adobe RepousséAfter Effects Apprentice Free Video: Understanding Axis ModesUsing After Effects as an Advanced Titler for Premiere ProAfter Effects Apprentice Free Video: Creating an Orbit Camera Rig
December 2011October 2011September 2011August 2011July 2011May 2011April 2011March 2011February 2011January 2011December 2010November 2010October 2010September 2010June 2010April 2010February 2010January 2010December 2009November 2009October 2009September 2009August 2009July 2009June 2009May 2009April 2009March 2009January 2009December 2008November 2008October 2008September 2008August 2008July 2008June 2008May 2008April 2008March 2008February 2008January 2008July 1999Complete Archives
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Stereoscopic 3D in After Effects CS5.5The new release (with some judicious adjustments) makes it easier to create easier-to-watch stereo scenes from 3D compositions.
You may remember our blog post on the “inherent” problems with stereoscopic 3D that famed film editor Walter Murch pointed out in an open letter to film critic Roger Ebert. We took Murch’s comments as inspiration to explore workflows in the latest release of After Effects that might work around some of Murch’s concerns: Namely, getting the eyes and brain to converge and focus on the same object (preferably one the same distance from the viewer as the screen). more »
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Motion Graphics •
NAB 2011 •
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Updated: Adobe Warp Stabilizer (P)ReviewPersonal experience with a new toy from Adobe’s Advanced Product Development labs
As noted earlier this week, Adobe TV posted a video - attached to the top of this post - that previews a new technology called the Warp Stabilizer. I’ve had a chance to work with a pre-release version of the Warp Stabilizer, and Adobe kindly gave me permission to pass along some of my experiences. more »
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ProVideo Coalition •
Motion Graphics •
NAB 2011 •
Visual Effects •
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Most recent comments by:
Simon Wyndham,
Ivan Oliveira,
Karl Soule,
Karl Soule,
Karl Soule,
Tom Daigon,
Chris Meyer,
Tom Daigon,
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After Effects Apprentice: Creating TransparencySetting motion graphics compositing apart from editing full-frame footage.
We’re often asked: What’s the difference between editing and motion graphics? Although there’s always exceptions to every rule, one way to distinguish between them is the way a project is built: Editing projects tend to be arranged horizontally, cutting between different scenes over time; motion graphics projects quite often are arranged vertically, with multiple elements - including footage, text, and other graphics - appearing on screen at the same time. The logical next question is: How do you see through one layer to the other elements underneath? This is something we’ve written a lot of articles and recorded a lot of videos about, including our most recently released courses on lynda.com. Sounds like a good time for a quick reference to them all. more »
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In Appreciation Of The Lowly WipeA few ideas for how to create more interesting (yet still tastefully understated) transitions between clips.
While editing Michele Yamazaki’s upcoming book on After Effects plug-ins
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ProVideo Coalition •
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Advertisement Expert Tips on Final Cut ProApril Fools came early this year.
Ever watch someone use (or even worse, demonstrate) a piece of software, and think to yourself “wait a minute - that’s not how you should do that…”? Then Rob Imbs of Lovely Junkie has a video for you. Rob has compiled what is no doubt years of hard-won Final Cut experience and “knowledge” into one tip-laden video of just about everything a beginner can do wrong. With a straight face. (Until the very end.) Watch it and weep. Then pass it along to an unsuspecting Final Cut Friend. more »
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Final Cut Pro •
Editing •
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Tips •
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Most recent comments by:
Rob,
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American EditorThe Ballad of the Bear Wrestler
More than one person has pointed me toward the relatively new blog American Editor, written by Rob Ashe: Senior Video Editor & Opening Title Designer of Conan O’Brien’s most recent ventures among other items on a long resume. Rob is a straight shooter with a wry sense of humor, who dishes up some honest opinions and advice on working in The Industry. more »Free Plug-ins for After Effects, FCE, FCP, and FCS (including Motion)Core Melt gives away a package of 33 V2 effects
Facebook in the new grapevine: I learned earlier this week courtesy of CoreMelt’s Facebook news feed that CoreMelt (creators of the Lock & Load stabilizer for FCP, in addition to numerous other effects) was giving away a package of free effects (sorry - Mac only), ranging from transitions ImageFlow animations to footage enhancers (vignette, color correction, light rays, etc.) to several glitch-oriented effects to a nice suite of effects which generate graphics from audio files. more »
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Smith & Nephew VERILAST CommercialWhat could have been a boring medical commercial pulls together several popular design trends quite nicely.
Silhouettes…ink splashes…particle streams that follow movement…all very pretty; all arguably done to death by now. Thus my pleasant surprise to see a commercial (for a knee replacement, of all things!) that pulled these design ideas to together in a very fresh, understated yet lovely fashion. If anyone knows who did this (or how), please share. In the meantime, here’s the spot: more »Page 2 of 19 pages < 1 2 3 4 > Last » Advertisement |
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, she reminded us of the classic, then-revolutionary video 
2D Footage with a Stereo 3D Rig in After Effects CS5.5
Edit and Optimize 2D Stereo Pairs from a 3D Video Camera or Twin Cameras with a Modified Stereo 3D Rig in After Effects CS5.5
Adobe included a 1-step option to create a 3D Stereo Camera Rig in After Effects CS5.5, to everyone’s enthusiasm for a simpler workflow in 3D space. Great if you are working in 3D space in After Effects, but what about an easy option for 3D Stereo pairs captured by a 3D camera or twin cameras on a rig? In this tutorial I’ll show you how to quickly modify the Stereo 3D Rig in After Effects to quickly mux your L&R video files and adjust the convergence for anaglyph, interlaced or stereo pairs output.
How to get the “24p” look for your live-switched multicam shoot
A contracted article, sponsored by Datavideo Corporation.
Our friends at Datavideo recently asked me to write an article called How to get the “24p” look for your live-switched multicam shoot. The article covers many factors involved in accomplishing that goal, including framerate, aperture, shutter speed, depth of field, and menu settings in Datavideo’s digital HD video mixers (“switchers”) and recorders, and also the menu settings in several pro cameras from Canon, Panasonic, and Sony. The included chart explains which of the cameras have a direct HD-SDI output, and which require an optional converter to go from HDMI to HD-SDI to connect to the Datavideo digital HD video mixer. As you’ll see in the article, the approach is quite different from the workflows I normally cover, which are more appropriate when programs are to be edited, as opposed to when they are shot —and potentially broadcast— live. The graphics for this article were done by Victory Elliot of Datavideo Corporation.
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